All I want for Christmas is you

All I want for Christmas is you

In the world of shojo manga, Christmas can only mean one thing: romance! Whether a couple goes on a special Christmas Eve date, or the heroine gets a glimpse of her crush at a Christmas party, high emotions are a given during the holiday season. Let’s see how Christmas is celebrated…

Kimi ni Todoke - ChristmasKimi ni Todoke style!

Our introverted heroine Sawako is invited to a Christmas party with her friends Yano and Chizu, as well as her crush Kazehaya. Yet just as Sawako tries to tell her parents about the party, they become emotional because Sawako was supposed to be born on Christmas, and she decides not to go. On Christmas Eve, Sawako’s dad mistakes a hat she knitted for Kazehaya as his Christmas gift. Yet not all hope is lost: when Kazehaya calls her from the party, Sawako’s parents realize she wants to be with her friends and give her their Christmas present: a cellphone. Sawako makes it to the party just as it’s ending, where she and Kazehaya exchange gifts.

Gifts exchanged: Kazehaya gives Sawako a pretty cellphone strap, a perfect present for her new phone. Sawako ends up giving Kazehaya her dad’s gift – a belly warmer! Even though Sawako is embarassed, Kazehaya is elated. After all, it’s the thought that counts.

  • Lovely Complex style!

Otani, in a mad rush to cram for his college entrance exams, begins seeing his girlfriend Risa less and less. When Risa’s coworker starts developing feelings for her, a jealous Otani breaks things off with Risa, who is left heartbroken. At a Christmas party with her coworkers, Risa realizes she can’t enjoy herself without Otani, and she decides to go to his house. But before she can get there she bumps into Otani, who also ran to see her because he can’t concentrate on his studies. The two make up, and celebrate with a Christmas kiss.

Gifts exchanged: Neither had time to shop for gifts, but Risa receives the best present she could have ever asked for – Otani tells her he loves her more than he could have ever realized. All together now: awwww.

  • Itazura na Kiss style!

Even though the Irie family is going to a fancy Christmas party at a hotel, Kotoko decides to spend Christmas with her two best friends, whose boyfriends are both busy on the day. But at the last minute both her friends cancel, and Kotoko is all alone on Christmas Eve. However, Kotoko’s crush Naoki happens to see Kotoko’s friend and realizes she must be home alone, and he returns to spend the holiday alone with her (with fried chicken and a cake).

Gifts exchanged: Kotoko gives Naoki a watch, but he doesn’t get her anything. That’s alright with her though – she got to spend Christmas with her beloved Naoki!

  • High School Debut style!

In her typical gung-ho attitude, Haruna decides to plan the perfect Christmas date with her new boyfriend Yoh. They go to Santa-land (which is full of kids) then to a Christmas fair (which is full of old people), but they still have fun all the same. Things take a turn for the worse, however, when they go to dinner: the staff, who are pissed about having to work on Christmas Eve, play a game with the customers to show whether they have kissed anyone or not. Haruna’s answer shows she hasn’t but Yoh’s shows that he has, and Haruna runs away, embarassed. But when Yoh catches up to her they kiss, and he promises never to kiss another girl again.

Gifts exchanged: Haruna gives Yoh a wallet she spotted him eyeing, while Yoh gives Haruna a scarf because she’s always running around in the cold with clothes that are too thin. Both gifts are extremely considerate, but I have to say Haruna was probably happier with the kiss, considering the fact that she could barely look at or speak to Yoh without freaking out and blushing afterwards.

Gakuen Alice - Christmas partyGakuen Alice style!

As in many other shojo manga, Alice Academy hosts a Christmas party where the girls where cute Santa costumes. Mikan tries to make Yoichi, a little boy close to class-troublemaker Natsume, happy by having Bear (who can walk and gets quite grumpy) play with him. Luka, Natsume’s best friend, thanks Mikan for making Yoichi happy by kissing her on the cheek. At first Mikan is shocked but that doesn’t last for long: when she and Natsume dance they end up falling and accidentally kissing each other in front of the whole school! Mikan freaks out and leaves the party, only to end up arguing with Natsume that it wasn’t a ‘real kiss’ by saying their lips barely touched. Natsume puts an end to the argument by kissing her for real, and the Christmas party comes to an end.

Gifts exchanged: Three kisses. I’m starting to sense a theme here…

Christmas in Japan may be more about romance than the typically family-oriented holiday is here in the west, but the true spirit of Christmas is still retained. As these shojo Christmas stories show, it’s not what you get for Christmas that matters most – it’s who you spend it with.

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Lovely Complex: Risa and Otani

Lovely Complex: Risa and Otani

“I don’t care if he’s small enough to fit inside my arms. I don’t care if he’s a lot shorter than I am. I love this guy. I really love this guy.” – Risa Koizumi, Love*Com volume three.

With such a large catalogue, it’s no surprise that there are many genres represented within the Shojo Beat imprint. From supernatural fantasy to melodrama that would rival any soap opera, the Shojo Beat manga line offers something for everyone. But at the heart of the Shojo Beat line is the romantic-comedy. Many of the most popular Shojo Beat manga are simply about high-school students falling in love, including Kimi ni Todoke and High School Debut. One of the best shojo romantic-comedies Viz has released to date is the 17 volume series Lovely Complex, also known as Love*Com Love*Com stands above most romantic-comedies because not only is it genuinely funny, but also because it features one of the most memorable couples in manga: Risa Koizumi and Atsushi Otani. The two are nicknamed the ‘All Hanshin-Kyojin,’ a famous comedic duo, by their classmates, because of the great difference in their heights and their bickering dynamic. At 5’7, Risa is the tallest girl in her class, while Otani is the shortest guy at 5’2. Although they tease each other constantly, Risa and Otani decide to help each other win over their respective crushes. It doesn’t take long, however, for Risa to realize what a great guy Otani is, and she must learn to overcome the complex that has been bothering both of them: their heights!

In most romance manga (shojo or otherwise), characters tend to fall in love for contrived reasons. And while falling in love with the janitor who saved you from being kidnapped may make for a great story (I still love you though, Dengeki Daisy!), Love*Com takes a simplier – yet less often travelled – approach to romance by showing that our main characters get together because they have so much in common. At first, Risa uses the fact that Otani is shorter than her to deny that she has fallen for him. But their friends all believe that Risa and Otani would make the perfect couple: they have the same hobbies, particularly their tastes in music (both share a love for a rapper named Umibozu, whose rhythms no one else in the series seems to be able to stomache), and similar mindsets, including a fondness for trying new menu items at their favorite restaurant. In volume four, Risa finally decides to accept her feelings for Otani and confesses to him. It takes him awhile to realize that she has a crush on him, because he is unable to imagine a ‘jumbo gal’ like her falling for a ‘shrimp’ like him. Once the depth of her feelings hits him, Otani rejects her, and the aftermath is handled differently than in almost any other shojo manga I’ve read. While in most shojo manga the love interest’s rejection leads to the female protagonist swearing revenge (such as in Skip Beat!), or occurs before the characters even really knew each other (such as in Itazura na Kiss), in Love*Com, Risa has to learn how to deal with her unrequited affection while getting her friendship with Otani back on track. At first, Risa tells him to forget about her love confession and act normally – but whenever she tries to revert to their ‘All Hanshin-Kyojin’ act, Otani teasingly asks her if that’s any way to treat the man she loves. This story-arc is probably my favorite the series – because for as funny as the series can be, the characters’ reactions to difficult situations like these are handled in ways that are extremely relatable, without ever losing it’s sense of humor.

But soon Risa decides that it’s okay if she still loves him, and their friends notice that Otani seems to be pleased by the depth of her feelings for him. Otani’s feelings for Risa come into further question when Risa sets her sights on a new teacher named Mighty. Otani confides in a mutual friend that even though he has fun with Risa, he has a hard time picturing the two of them together because of her height difference. However, when Risa joins a fan club devoted to Mighty, Otani gets jealous of the attention she’s giving her teacher, and on her birthday the two finally get together. Although Risa fell for Otani first, I’ve always believed Love*Com does a good job of showing that Otani loves Risa just as much as she does him. At first, he is reluctant to openly say he loves her, but little things like buying her a bunny pendant because he noticed she likes rabbits, to missing an Umibozu concert when Risa faints, show how much he cares for her. But it’s more than just their interactions that make them a great couple: both characters are interesting on their own as well. Risa is a great female protagonist – she’s funny yet sympathetic, with a love of video games and has a penchant for making strange faces. Otani, meanwhile, is sarcastic yet endearing, and is a great basketball player despite his height. I appreciate the fact that the series follows the couple trying to maintain their relationship after the two get together. And while some parts of the series after Risa and Otani start dating may be clichéd – such as the introduction of rival love interests Mimi and Kohori, who bring in unnecessary drama to the series – in the end, the lopsided duo are one of the funnest (and funniest) couples in manga, which makes Love*Com essential reading for any fan of the Shojo Beat catalogue.

The rest of the Shojo Beat Manga Moveable Feast entries can be found here.

Queerness in shojo manga: crossdressing

Queerness in shojo manga: crossdressing

When I started thinking about the presence of queer characters in shojo anime and manga, the theme of crossdressing immediately came to mind. Crossdressing, homosexuality, and the desire of males to be ‘feminine’ are themes that are heavily present within shojo manga, and it is interesting to see how these themes connect with one another. Much like my last post on the representation of queerness in shojo manga, this time I will once again be focusing specifically on male characters. While there are plenty of female crossdressers in shojo manga, unlike the male crossdresser there is (usually) no doubt that the female crossdresser is straight. For example, in Princess Knight Sapphire makes it clear that she dislikes being forced to dress up as a male, and wishes she could be more feminine. And in Hana-Kimi, the reason Mizuki pretends to be a male is so she can be closer to a boy she admires, and by the end of the series when her gender has been revealed, she grows her hair out. However, males who crossdress as females in manga almost always not only are in love with other male characters but wish to be female themselves. This isn’t shocking considering the depictions of gay men in most Japanese media. Homosexual men in Japan are usually called okama, which is a troublesome term because it is also often used to describe male crossdressers. Gay males in Japanese media usually are shown to be, if not exceedingly feminine, then they are outright crossdressers. Thus, in many ways homosexuality and crossdressing have been made interchangable in Japanese language and culture.

Fushigi Yugi – Nuriko

Characters who like to crossdress are often depicted as having psychological or emotional problems, and these problems are  sometimes revealed to be the cause of the character’s desire to crossdress. For example, Ritsu Sohma in Fruits Basket suffers from low-self esteem and constantly apologizes for everything he does, which is why he decides use his dressing as a woman as an outlet to escape the pressure to meet people’s expectations. Yet near the end of the manga when Ritsu begins feeling better about himself, he decides to stop dressing as a woman. What this implies, however, is that only people with emotional scars feel the need to crossdress, and that once those scars have been cured so too will the desire to dress as a woman. There is a sense of transience given to the crossdresser – that his habits are only temporary and eventually will stop (as they should). Similarly, in Fushigi Yugi, Nuriko begins dressing as a woman after his younger sister died so he can live on in her place. However, as Nuriko becomes closer to Miaka, he is able to overcome his grief at his sister’s death and eventually decides to cut off his hair and quit the “gay act.” But what’s even more troublesome in Nuriko’s case is the entanglement of gender identity and sexuality. Nuriko’s desire to ‘be a woman’ has nothing to do with his sexual desire, yet the series treats the two as though they are the same thing because it is revealed that he is in love with Hotohori, the king of Konan. This is bothersome because Nuriko’s attraction to males is written as a natural part of his transition into being a woman, rather than it being shown that Nuriko would have been gay regardless of how he dresses. Thus, the stereotype that crossdressers are also gay (and that these two identities are interchangable) is reinforced through Nuriko’s character. 

I’d also like to consider how crossdressing characters in shojo manga categorize and label themselves in terms of gender identity and sexuality. Tamahome and the other Suzaku warriors often tease Nuriko about his crossdressing, and they typically call him an okama. At one point, Nuriko gets annoyed and asks to be called a ‘new-half,’ which is a male-to-female transsexual. There is a certain ambivalence to Nuriko’s character, because while he adopts a female name as the king’s consort (Korin, his late sister’s name), he acknowledges that he is truly male when it comes to his role as a Suzaku celestial warrior. However, in contrast, in Love*Com there is very little sense of ambiguity when it comes to how Seiko sees herself. When Seiko is first introduced, she falls for Otani and immediately gives a big kiss on the lips. Otani is flattered that a girl as adorable and kind as Seiko would like him, yet when she tries to make a move on him in their school’s infirmary Otani discovers Seiko is actually a male (named Seishiro) when she removes her shirt. Otani turns her down (while saying that he still thinks she’s a cool person who is more feminine than Risa, Love*Com‘s female protagonist), and Seiko isn’t phased for long by her rejection. As the series progresses, Seiko becomes ‘one of the girls’ Risa talks to about her love troubles, and it is easy to forget that she is biologically a male. When her male identity does become a problem for Seiko, it’s only because her voice suddenly becomes deeper and doesn’t match her appearance. Seiko decides to stop dressing as a girl, but Risa encourages her not to let her voice change alter who she really is. It doesn’t take long for Seiko to return to crossdressing, especially after she realizes that her voice problems were because of a cold and weren’t permanent. Rather than treating the crossdresser as a ‘temporary’ identity, Love*Com treats Seiko’s female identity as though it’s simply natural, and instead of discouraging her transgenderism, Seiko’s friends support her. It is because Seiko is so comfortable with her gender that I can’t help but see her as she sees herself: as a fun-loving, sweet girl – and that’s why I always refer to Seiko as a girl. I can appreciate the range in how Nuriko and Seiko view their genders respectively, however, because this helps emphasize that gender isn’t fixed and shows that there are multiple identities that are possible beyond just the male/female dichotemy.

But not all shojo anime and manga treat crossdressing and homosexuality as though they are the same thing. In Ouran High School Host Club, Haruhi’s father Ranka works at a bar full of employees who are transvestites. Even though he’s getting paid to dress as a woman, Ranka makes it clear that he enjoys dressing as a woman and did so even before he married Haruhi’s mother. Ranka also affirms that he isn’t gay and that the only person he ever really loved was Haruhi’s mother, who accepted the fact that he liked to dress as a woman. Thus, Ouran High School Host Club shows that there is a difference between how one dresses and his or her sexuality. However, Ranka still shares much in common with other, more stereotypical male crossdressing characters. Ranka is a fun character who is loved by many fans of the series, because he’s quirky and not-so-nice to Tamaki. Seiko is sweet and positive, while Nuriko is fiesty and often sarcastic (not to mention, he’s my favorite character in Fushigi Yugi). Male crossdressers may be stereotyped, but they are usually engaging and funny characters, and we can’t help but laugh with them.

Happily ever after…at least until another love interest shows up

Happily ever after…at least until another love interest shows up

You’d think Mimi would have taken note…

Love triangles tend to be very hit or miss among fans. While some fans consider love triangles to be a fun way to heighten drama, other people see love triangles as predictably clichéd. Many fans, including myself, often find themselves on both sides of the argument: when a love triangle is done right it can captivate the audience, yet oftentimes it is obvious who is going to end up with each other right from the beginning. Simpleek wrote a post discussing the appeal of love triangles in manga, and I’ve written before about the love triangles in anime and manga that most stand out to me. And while I’ve come to accept the presence of love triangles, there is one type of triangle I absloutely cannot stand: when a character is introduced as a love rival after the main couple has already gotten together. This type of triangle pops up because once the main couple has finally confessed their love to one another and has gotten together, the author faces a dilemma. You can almost hear the author saying ‘Oh noes, I’m running out of plot! What’ll I do?!…Wait…I can create a new love interest! This way, the couple can break up over some stupid misunderstanding and the heroine can sulk around and find comfort in the arms of her rival. That’ll buy me a few chapters!’ There are multiple reasons I can’t stand this cliché. First of all, it is extremely common. The first series that comes to mind is Love*Com, which introduces Mimi right after Risa and Otani became an official couple in volume eight. Mimi can’t stand that Otani has fallen for someone taller than him because she also is taller than him and didn’t think she had a chance. Even though Mimi is a somewhat sympathetic character and I really like Love*Com, I didn’t feel as though her introduction into the story was necessary. Another example of a rival love interest showing up after the main couple had already gotten together occurs in The Devil Does Exist. The ‘love triangle’ in this series made no sense at all because Rumi’s reasons for liking Takeru were unclear, and more importantly she wasn’t even his type, so she wasn’t even a threat to Kayano and her relationship with Takeru. Rival love interests often pop up in Absolute Boyfriend, and they usually have ulterior motives. After Riiko and her robot boyfriend Night announce themselves as a couple at school, Mika tries to seduce Night because she’s only interested in other women’s guys. Later, a rival robot appears to try and win Riiko’s heart so he can replace Night. Overall, I find it to be much too contrived that a love rival will always show up just as the main characters have happily gotten together.

This cliché is also stupid because we know that the rival has no chance and the main couple will stay (or get back) together, which is most obviously shown in Marmalade Boy. When Kei Tsuchiya is introduced, he immediately interferes in Miki and Yuu’s relationship to win Miki’s heart. The couple fight and break up thanks to Kei’s presence, yet when Kei tries to make his move on Miki she’s not interested in him at all. It doesn’t take long for Miki and Yuu make up, and everything returns to normal. What bothers me most is that this plot was played for angst even though it was useless and trite. All I could think when I was watching the series was ‘Uh, hello, it’s called ‘Marmalade Boy!’ She’s obviously gonna end up with the ‘marmalade boy!’ So even though I love Marmalade Boy, I’m not a huge fan of this particular storythread and I wished the author would have just skipped it.

However, even though I generally can’t stand the late introduction of shallow love interests who are often uninteresting and barely fleshed-out, it can be done right. When Keita Kamogari shows up in volume eight of DMP’s release of Itazura na Kiss, he is training to become a nurse alongside Kotoko. Kotoko has trouble finding her footing with the medical field (which causes Keita a lot of pain, since he is the person she practices giving needles to), and when her genius doctor-in-training husband Naoki coldly tells her there’s no way she can be a nurse, Keita is bothered by how unsupportive he is. When all three go to a party with the other medical students, Keita calls Naoki out on spending his time socializing instead of with Kotoko, and yells at him for “not being to fond of his wife.” Naoki soon realizes that Keita is in love with Kotoko, and when he and Kotoko get into an argument, Keita confesses his feelings to her. Naoki soon begins ignoring Kotoko, and when he declines after she asks him to celebrate their second wedding anniversary, Kotoko finally snaps. She begins throwing books at him and saying their marriage doesn’t feel like a real one, and she tells him she doesn’t feel like he ever loved her. Kotoko decides to spend the night at a friend’s house, and the next day when Keita finds out about their fight he asks if she wants to move in with him because Naoki acts as though he doesn’t love or need her. Naoki rushes in to tell Kotoko that she’s completely wrong – he was jealous of Keita, which was a first for him and he didn’t know how to react. He tells Kotoko that he needs her more than anyone and he can only be himself around her, and the two make up. While the reasons behind Keita’s feelings for Kotoko are a bit underdeveloped, unlike so many other rival love interests Keita actually serves a purpose beyond creating unnecessary drama. Kotoko admits that deep down she was always insecure about why Naoki loved her, and she always felt she loved him more than he loves her.

Keita may not be fully fleshed out as a character, but he works very effectively as a plot device. When Naoki and Kotoko first got married in volume six of the manga, I had problems with them getting together because for so long, Naoki denied his feelings for Kotoko. The two were married only two weeks after he proposed to her, and I still felt that their relationship was too imbalanced. Bringing Keita into the mix helped not only air out these problems, but also brought them to a resolution. The stakes of having a rival love interest in Itazura na Kiss are also higher than in most other series because by the time Keita shows up Kotoko and Naoki were already married, which made the possiblity of their break-up much more sad than frustrating. In all, rival love interests often bring empty tension to a series – but when used right they can provide insight into the main couple and make their bond seem not only more realistic, but stronger.

Love*Com: Risa’s ready for her closeup!

Love*Com: Risa’s ready for her closeup!

Love*Com is one of the funniest shojo manga I’ve ever read. Aside from having great dialogue and lovable characters, one of my favorite aspects of the series was the use of facial expressions. Aya Nakahara draws some of the most unique and fun facial expressions I’ve ever seen, so I thought I’d share some examples.

Risa’s famous ‘crab-ugly’ expression:

Love*Com volume 2, pg. 103

Some people know how to put on graceful airs no matter what the circumstances. Risa is not one of those people:

Love*Com volume 5, pg. 64

Risa’s feeling a little Munch today:

Love*Com volume 6, pg. 28

That smile would get any man going Risa:

Love*Com volume 6, pg. 46

Don’t listen to him Risa. You look gorgeous:

Love*Com volume 6, pg. 56

I’m sensing Gone With the Wind:

Love*Com volume 6, pg. 136

There may be such a thing as ‘too happy:’

Love*Com volume 7, pg. 133

The last time I saw a face like this I was at the zoo:

Love*Com volume 9, pg. 127

Risa was so close to being a 70s shojo heroine. All she needed was the curly hair:

Love*Com volume 12, pg. 68

And that was Risa in all her candid glory! Beautiful, isn’t it?

 

Leave it to the fangirls…

Leave it to the fangirls…

The fanatical Prince Yuki fan club from Fruits Basket

I consider myself to be pretty tolerant of shojo clichés. The accidental first kiss, love-letter disasters, tender moments at the school’s infirmary – these things don’t bother me so much, and some still manage to make me squee if they’re done right. But there is one cliché I cannot stand: the fan club. So many shojo manga feature a group of girls who are so gaga over the hottest, most popular guy in school that they decide to start a fan club dedicated to him. Now, while other anime have crazy clubs (Haruhi Suzumiya has a club devoted to finding aliens; Ouran High School Host Club has…well, a host club), I’m pretty sure in real life, most Japanese schools wouldn’t allow such a ridiculous organization to their roster. The very first time I noticed a fan club in an anime or manga was the ‘Prince Yuki’ fan club in Fruits Basket, and well…let’s just say I skipped those scenes. Realistically, there’s rarely such a thing as a ‘most popular guy in school,’ but if you touch him, you’re dead. Often, the main female character gets bullied for any interaction she has with the walking god that is her love interest. Aside from how stupid this cliché is, what bothers me most about it is that in real life, most girls would be trying to date the most popular guy instead of worshipping him from afar.

There are some manga that use the fan club cliché in unique ways. For example, in The Devil Does Exist, Kayano’s rival Rika secretly pays Takeru’s groupies to bully her so Takeru will come to her rescue. This also serves as a catalyst for examining Rika’s self-esteem issues, although I’m still not crazy about the presence of a fan club in the story. Probably my favorite use of the fan club cliché was in Love*Com because it was so tongue-in-cheek about it. When Risa joined the fan club for her teacher called ‘The Mighty Girls’ in volume six, she and a group of other girls go to the extreme of chanting a “Hymn to the Lord Mighty the Great” whenever he’s around. I actually found the use of the fan club to be pretty funny because as soon as she joined it, Risa seemed brainwashed and became increasingly zombie-like, causing her best friends to beg her to quit. Not only that, but it was also refreshing to see the fan club devoted to someone who wasn’t a love interest  for the main character (although Otani does become jealous at the shift in Risa’s attentions). But overall, I think manga-ka should leave the pretty-boy worshipping to real life fangirls. After all, there’s plenty of them.

Friendship in shojo anime and manga

Friendship in shojo anime and manga

  There are few shojo that focus as much on romance as Marmalade Boy does; the (anime) series literally has a dozen love triangles. But the relationship that interests me most in Marmalade Boy isn’t one of the dramatic couples or contrived triangles – it’s best friends Miki and Meiko. Marmalade Boy was the first anime I watched that featured a prominent and relatable female friendship. I understood Miki’s desire to be the closest person to her best friend, and her disappointment at finding out Meiko never confided in her the way she does. And yet, despite their problems, Miki and Meiko end up being the person the other could depend on the most: Meiko was there for Miki when she was unsure about Ginta, and in return, Miki decided that Meiko needed to see Namura and took her to Hiroshima. So while some of the romances in Marmalade Boy fell flat for me, seeing Miki and Meiko made me wish I could have their friendship. And while most shojo manga best-friends end up becoming a love rival or betraying the heroine (Yuu Watase loves this cliché), it’s refreshing to find genuine friendships that are also not completely perfect or idealized. Watching Marmalade Boy made me think about what other friendships in shojo anime and manga I thought were well-portrayed or could really relate to. And after reading an interesting article on friendships in shojo; I decided to write about the manga friendships that have affected me most.

 If there’s one friendship in manga that reminds me of my own, it’s Risa and Nobu in Lovely Complex. I love the way they tease each other yet always support one another through their problems – and that the way they help each other is by encouraging the other to show their ‘inner boobies.’ I love the random, perverted conversations they have, such as a scene when Risa and Nobu are at a sleepover and pretend to hit on one another. Even though their friendship isn’t always at the forefront, the dynamic between Risa and Nobu feels more than just fun – it feels authentically teenaged, which is what makes them so relatable.

Nana Osaki and Nana “Hachi” Komatsu

 While Marmalade Boy and Love*Com feature my favorite anime and manga friendships, of course there are many other great ones. Kimi ni Todoke explores that awkward stage when you haven’t defined yourselves as friends. Cardcaptor Sakura, on the other hand, has Tomoyo, who always helps Sakura out and wishes for her complete happiness. And it’s impossible to talk about female friendships without mentioning Nana. The series is unique in that the central thrust of the series isn’t a romance or an overarching plot, but the friendship between the Nanas. At first, Hachi idolizes punk-rocker Nana, but as the series progresses and the two grow closer, Hachi realizes that Nana isn’t as strong as she seems. The series not only explores the potential possessiveness and jealousy that comes with becoming close friends, but also the rewards of finding someone you can’t imagine living without.

 Of course, there are great male friendships in shojo manga as well. The main one that comes to mind for me is the F4 from Boys Over Flowers, a.k.a Hana Yori Dango, four rich teenage boys who run their high school. I love the idea of a clique of guys who under their spoiled-rotten façades, are really normal, sweet guys who have also been best friends for thirteen years. I also adore that every member of the F4 has his role: the leader, Tsukasa, who is constantly causing trouble, Akira and Sojiro, who clean up the messes left behind from Tsukasa’s rampages, and Rui, who is usually off sleeping somewhere. And even though they argue (a lot), I love that they always band together to help each other out, especially in the live-action adaptations. Plus, they’re hot. There’s that, too.

  Oh, and I thought I’d mention that when I considered boy-girl friendships where neither character has romantic feelings for the other, I couldn’t think of any! So if any of you guys can think of some, that’d be great!

Boys Over Flowers’ F4 – Rui Hanazawa, Akira Mimasaka, Sojiro Nishikado and Tsukasa Domyoji